A recent exhibition at Lahore’s Taseer Gallery brought forth the concept of kitsch in a way that is unique. The general ethos of this art form is one that makes use of ‘low brow’ or even cheap and gaudy aesthetics; for the modern artist it may be used as a tongue-in-cheek manner to convey a comment on society. This latter intention is what makes up “Rosy Dreams with High Walls”, a solo show by artist Saba Khan at the aforementioned gallery. Khan is a young and accomplished artist who has been displaying her work in various galleries at home and abroad ever since her graduation in fine arts from the National College of Arts, Lahore, in 2005.

Later, as a Fulbright scholar (2010), she studied at Boston University, US, and has participated in residencies in Pakistan as well as in Europe and the US. In fact, she is the founder of The Murree Residency, which recently became a much talked about collaborative and creative effort in local art circles.

Khan’s current artistic endeavour revolves around a young couple’s dilemma in finding a suitable abode in Lahore’s middle-class urban localities. For young professionals buying or renting a house is a frustrating exercise indeed, both in terms of the money involved as well as the less than delectable aesthetics displayed in somewhat reasonably-priced homes.

Saba Khan’s current exhibition revolves around a young couple’s dilemma of finding suitable abode in a middle-class locality

Her cynicism and even amusement at the gaudy looking architecture and interiors of typical homes promoted by slick property dealers is evident not only in the colours and symbols but even in the choice of medium. She has used mixed media on paper stretched on canvas, making use of acrylic paints, glitter, crystals, graphite and beads to create the quintessential ‘kitsch’ art. The choice of colours is also in the same vein: bright turquoise and candy floss pink dominates, while in some works the colour palette is more diverse. In terms of aesthetic appeal, the more detailed works tend to be visually appealing, especially when the artist’s painterly skills become more apparent, such as in ‘Drawing room dreams’ and ‘Mutton dreams’.

While the ugly structures of houses are portrayed in most paintings, Khan also comments on lifestyles, hinting at the typical propensity for eating meat, spending on wedding functions and on gaudy furnishings. The canvases are all small in size, and rely on detailing, whether through paint or application of mixed media elements, particularly tiny beads which are used profusely in most of the works. Khan creates a surreal scenario, weaving real images with imagined ones, and selecting signs and symbols from various observations she made while surveying the options available for housing in the city.

Indeed one does end up contemplating about the less than satisfactory and indeed downright ugly architecture that one confronts in our sprawling city, where housing schemes keep mushrooming to cater to the ever expanding population. The dream of owning a home is perhaps the most common one amongst all and sundry, with individuals and families pursuing this dream for the greater part of their lives, with only a few being able to get their ‘dream house’.

For young couples in particular, such a dream becomes one that seems never likely to be fulfilled, and all they seem to do is dream on and fantasise. For those with delicate sensibilities yet limited finances, being able to acquire an abode that can satisfy their aesthetic sense becomes a big challenge and a frustrating one in most cases. Khan has touched upon this dilemma in a unique way, bringing forth a personal perspective, as well as one that many others can identify with.

Published in Dawn, Sunday Magazine, December 20th, 2015